LITTLE MAGAZINES AND CANADIAN WAR POETRY 1939-1945 WITH SOME REFERENCE TO POETRY OF THE FIRST WORLD WAR by JOANNE MEIS B.A., University of Calgary, 1966 A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 o In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for .reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date > '77/ While English First World War poetry moved from extolling the Vic• torian versions of chivalric values to the "debunking" realism of some of the soldier poets, Canadian First World War poetry failed to exhibit any such development. Canadian First World War poets write a colonial inter• pretation of what the English inspirational war poets produced, and they did not express any disillusionment with the military-religious dogma of the war. During the Second World War, some Canadian poets produced poetry of a similar type to that which they wrote celebrating the first. But the war years saw the development of a group of young "modernist" poets who followed up the first modernist movement of the Montreal group and New Provinces, and when these poets wrote about war, the idealization of the conflict was not among their aims. Thus In Canadian war poetry the split between idealization of war and its realistic appraisal does not occur until the Second World War. The realistic appraisal of war on the part of the new poets takes many directions, but their poetry holds in common a refusal to accept any idealized version of the conflict. TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. CANADIAN POETRY OF THE FIRST WORLD WAR (with some reference to English poetry of the same period) & "TRADITIONALIST*' POETRY OF THE SECOND WORLD WAR 4 III. WAR POETRY IN THE CANADIAN FORUM 45 IV. WAR POETRY IN CONTEMPORARY VERSE 86 V. WAR POETRY IN PREVIEW Ill VI. WAR POETRY IN FIRST STATEMENT 131 VII. WAR POETRY IN DIRECTION 148 VIII. CONCLUSION 155 BIBLIOGRAPHY 163 POET-INDEX 170 I. INTRODUCTION 1 The position of Canadian poets writing about war in the twentieth century is unique because in neither of the two major conflicts in which Canada has been involved has there been any actual fighting done on Cana• dian soil. This results in certain problems, the most important of which is that it has been much easier for Canadian writers to avoid coming to terms with the philosophical and ethical problems raised by Western society's increasingly technological brand of warfare. In the First World War, it was easier for Canadian writers to see only the patriotic glory of the "Cause" and to miss what would be so much more obvious to a writer in England: that this war showed unmistakable signs of being a new war, a kind of war in which personal heroism counted for less than nothing, and in which economics was more influential than honour. In the Second World War, though Canadian literature had developed somewhat in the interim, it was still easier for the nature poet in Canada to hold to his rocks and woods as a sure refuge from which to wave his feeble flag of encourage• ment; it was easier to sing hymns of praise to the patriotic concepts of democracy and empire when the bombs were falling somewhere else. Every war or rebellion produces its share of verses of one kind or another, and Canada has been no exception. Canadians have written verses about the politics of Upper and Lower Canada, about the uprising led by William Lyon MacKenzie and Louis Papineau, about the Riel Rebellion and about the Boer War. Most of these are verse satires, and a few, notably those dealing with the Riel Rebellion, are battle hymns of a highly self- righteous nature. The focus of this paper, however, is on the Canadian poetry of the First and Second World Wars. Canadian poetry in the First World War revealed the attitude of most Canadian writers to be basically colonial. The idealism of the 2 English soldier fighting for his country is in Canada transformed into a kind of patriotic filial piety. The uniformity of the Canadian response to the First World War, which never progressed beyond the emptily patriotic, forms a contrast with the much discussed change in sensibility which occurred in English poetry during the same conflict. Canadian poetry of the Second World War falls into two groups, owing partly to the literary associations of the writers and partly to their attitudes towards the war, though the two are very closely related. At the time of the Second World War there was in Canada a group of poets whose choice of form and diction was highly traditional, usually modelled on the best of the English poets of the late nineteenth century, or, at second hand, on the Canadian nature poets of the same era. Many of these "traditionalists" had some literary reputation before the war, and they wrote about war as another subject to be dealt with by any poet worthy of the name. In these poets is found a sensibility somewhat similar to that of the traditional English poets of the First World Wart they treat war as a necessary but glorious evil, an opportunity for man to demonstrate his capacity for heroism; their purposes in writing are usually either commemorative or morale-building and inspirational. Except for a few light verses, humour and irony are not to be found. In contrast to these poets were another group, which the traditionalists labelled "modernist" or "experimentalist", though many of the poets involved were well established and widely recognized, and the poetry they wrote was by no means avant-garde. The "modernists" often showed the influence of contemporary British or American poets and were much less bound to a choice of form than the traditionalists: they chose from a greater variety of forms or else made their own to suit the material, and they used a wider range of the possibilities of language, not being bound to a particular 3 style which was considered "poetic", as the traditionalists so often were. Their attitudes towards the war were as various as the forms of their writing: the only characteristics they had in common in this respect con• cerned what they were not trying to do with their poetry: they were not trying to give expression to patriotism as an end in itself; their poems always had something more specific to say. Also, in general, though not without exception, they were not writing out of a desire to glorify the fighting of a war. Among these poets there was the ability to see the irony of war, resulting in poems of satire, black humour, and ironic vision. The poems investigated in the section on the First World War are from anthologies, mainly that of J. W. Garvin. The poems investigated in the "traditionalist" section of Second World War poems are from several anthologies and Ihe Canadian Poetry Magazine. The section dealing with "modernist" poetry of the Second World War deals with the poems from some of the Canadian literary magazines that were publishing or began publishing during the war: the literary section of the Canadian Forum, Contemporary Verse, Preview, First Statement, and Direction. Due to considerations of length this paper has been unable to concern itself with the hundreds of individual volumes of war poetry which came out during the war years, the several anthologies of "modernist" work which came out late in the war and in the years immediately after, or with the many war poems that appeared in popular magazines and newspapers. However, the sources chosen do provide a reasonably accurate sampling of the kinds of war poems that Canadian poets were writing at the time. CANADIAN POETRY OF THE FIRST WORLD WAR (WITH SOME REFERENCE TO ENGLISH POETRY OF THE SAME PERIOD) AND "TRADITIONALIST" POETRY OF THE SECOND WORLD WAR 4 In 1931 F. R. Scott published his synthesizing article, "New Poems for Old" in The Canadian Forum.1 The first section of this article, "The Decline of Poetry", deals mainly with English poems of the First World War. Scott uses these.poems to exemplify the archaic sensibility of most of the writers of that time - their inability to see the conflict in any but the most poetically embroidered and patriotically glorified terms. Scott points out that the realism of such disillusioned writers as Siegfried Sassoon and Wilfred Owen was the living response. The traditional patriotic poetry was dead because it was based on a purely poetic tradi• tion rather than on a living poetic response to the real world. Scott sees the traditionalist response as arising from the popular ideals bred in the days of the British Empire: Then came the war. Immediately the little band of English singers, in common with prelates and potentates of every kind, arose as one man to proclaim its faith in the stock-in-trade ideals of the European nation-state of 1914—tribal god, crusading country, glory of warfare, honour of dying etc., etc.2 and he quotes examples from the work of some of the people who produced poetry of this patriotic stamp: Rupert Brooke and some of the established poets, Herbert Asquith, Thomas Hardy and Henry Newbolt.